“‘Rhythm is who we are—if we didn’t have that, how could we make it?’” The question is: How do I render sound visible? For me, the answer is ethnopoetics, a mode of presenting performance, ritual, and cultural expression through the tools of poetry. In its possibilities for mirroring moments, and reflecting the spaciousness and impact »
On July 4, 1867, Augusta, Georgia’s newspaper, the Daily Constitutionalist, published the words to a new song that seemed to reflect the bitterness felt by many white southerners following the Confederate defeat. The paper printed the song’s title as “O! I’m a Good Old Rebel” above a spiteful dedication to Thaddeus Stevens, the abolitionist congressman »
On a sticky June Sunday in 1959, two people meet each other outside an eastern Kentucky hamlet called Daisy. A twenty-seven-year-old college grad living in New York City, the grandson of Russian Jewish immigrants, wants to experience the Great Depression, and he is listening for music that might work like time travel. The other man, »
“In the business of surviving, it is easy to forget that almost half of our lives is spent dreaming.” The pandemic came to stay for awhile and settled us down, grounded like teenagers in some enduring season beyond the usual markers of weather and time. Southern Cultures, at the beginning of the stay-at-home orders, invited some »
“The following portraits show a few of the new faces of tradition in North Carolina, revealing the range of who they are, what they do, and how they commit to their artistic practice.” Since 1977, the Folklife Program of the North Carolina Arts Council has identified and documented traditional artists and their communities in order »
New Orleans Second Line Parades “Sunday Second Lines nod to the past but embrace the present, dancing along that thin line where tradition thrives, four hours of unbridled jubilation at a time.” On roughly forty Sundays a year, the hardworking members of New Orleans Social Aid and Pleasure Clubs take turns celebrating the everyday joy »
Creating Dangerously in The Land Where the Blues Began
by Tyler DeWayne Moore
Creating Dangerously in The Land Where the Blues Began “Worth Long’s lifelong quest to preserve the creativity of those who sang, hollered, prayed, played, and lived the blues, dangerously, was one of his greatest contributions as an activist.” In the fall of 1967, folk music columnist Israel “Izzy” Young expressed his enthusiasm for the emergence »
“From the heyday of swing through the dawn of bop, wherever there was jazz, there was some piece of Birmingham.” This is the story of jazz in Birmingham, and of Birmingham in jazz—of how Alabama’s “Magic City” helped create some of the nation’s most swinging and celestial sounds, and of how that city, in the »
Join us (rain, Hurricane Dorian, or shine) TONIGHT, Thursday, September 5 at 5:30 PM, for the opening reception of “New Orleans Second Line Parades,” on view through December 2019 at the Center for the Study of the American South. On roughly forty Sundays a year, the hardworking members of New Orleans Social Aid and Pleasure »
Kris Kristofferson, Authenticity, and Country Music's "New Breed"
by Alex Macaulay
Attendees at the 1970 Country Music Association awards were startled when Roy Clark announced that Kris Kristofferson’s “Sunday Mornin’ Comin’ Down” beat out Merle Haggard’s “Okie From Muskogee” for Song of the Year. Amid applause and some gasps, a dazed, disheveled, long-haired Kristofferson stumbled up the steps of the Ryman Auditorium, looking an awful lot »
This article has been condensed from a longer essay that first appeared in the Winter 2018 Issue. Access the entire essay via Project Muse (link below). It was W. C. Handy, as much as anybody, who was responsible for gifting us with the mythology of Mississippi as ground zero for the blues. Virtually every blues »
Latinx Musicians and the Politics of Music in Charlotte
by Samuel K. Byrd
“‘We rock whatever hats we want.’” In the past decade, Charlotte’s Latinx rock musicians have moved from a politics of acknowledgement to a politics of engagement with the larger music scene and the city itself. A recent article about Latinx musicians on Charlotte’s Spanish-language news website Hola Noticias noted, “It’s been almost a decade since »